Variations on the idiom:
Pot calling in kettle black?
A pot calling the cattle black?
A kettle calling the pan black?
The pot calling the ketle black?
The pot called the kettle black?
The pan calling the kettle black?
Its the pot calling the kettle back?
Look who’s calling the kettle black?
Let not the pot call the kettle black?
Red faced pot calling the kettle black?
Like the teapot calling the kettle black?
Thats like the pot calling the kettle black?
Thanks to Rebecca Taylor for giving me the incentive to look it up.
Hadn’t heard the ‘cat’ usage of the idiom since grammar school.
That being said, my cat is a white tiger, turning black.
I am responding to the issue of Museum Tweeters on LATimes. You can find this comment there as well.
I have been following Museums rather closely on Twitter in the last few months. I tweet under the name @Art_news and list myself under the category of interest for Museums. If I were on that list now, I would rank before the Whitney as No. 7 Ironically, the top museum tweeters in general, are responsive with public replies to their queries which generates a sense of community with their patrons. The number one problem with unsuccessful Museum tweeters is that they do not respond to queries, or even post tweets for that matter. Impersonal “announcements” are also considered rather blase, and render a poor impression of museum and their ability to educate their public. Twitter is about “social networking” and in my view requires an institution to be personal or socially interesting. If they are not, why bother interacting. Usually I discuss art issues. I have generated a #MailART network and moderate lively discussions on twitter in the way I have seen no other museum do, except in one instance the @HolocaustMuseum with some help from those on their live twitter tour.
All of this is to say, I would love to see Museums meet the public’s desire to be heard and educate. Hire me as your tweeter, and you would see no less than a revolution in a museums ability to do social networking. I am amazed at the present response I have received discussing my artwork with my present personal life reality: the pending birth of my fourth child and my move to another apartment.
Posted by: Mark Philip Venema | June 25, 2009 at 07:39 PM
A couple raw photos of Rita waiting to find out that the baby had turned and there would be no C-section necessary today. Hospital robe blue looks good on her, don’t you think? Click on image and click again for huge image.
For those interested, we will run a second #MailArt group in July with an August deadline. Keep an eye out for future blog posts. Leave your name and comments below, if your interested. See previous blog post for the rules and ideas on the first group. http://bit.ly/BxSfZ
However, go ahead and start some discussion in comment box here below. I think we should think about looking for venues for a MailArt exhibition. Talk it up, along with whatever concerns you have. Help each other, I won’t be so available in the coming weeks.
Since personally, we are moving, having a baby and looking for a “real job”, I won’t be doing anything about the second #MailArt exchange, until the second week in July. Until then I will collect addresses, listen to your views and send out info for new groups with a July 19 deadline to enter, and an August 31st deadline for mailing.
Ok Twitter #MailArt aficionados,
Here is the deal:
This project is to be serious fun, requiring your commitment and dedication to people and respect for relationships. From that the Art will follow.
As for the Art then, you are responsible for your own artwork on your own terms. So the content will be open ended. There will no theme this time around, unless you make a personal theme develop. You can share ideas in the blog comments below.
We have experienced artists on the list, and some novices trying their hand. Its an experiment and we should see where we can take it. I see it as coming from the equalizing joy that twitter interaction brings us.
In theory, I would like the project to turn into an online gallery, and secondly, if possible and all consenting, a show in multiple locations/cities/venues at the same time. If thats too daunting forget that part, but keep it in the back of your mind. The point is fun and sharing some of your freehand / collage / watercolour / digital / photography / you-name-it work.
Keep in mind that mailing addresses would never be shown in a public viewing, but you can run your work onto the back as well as the front of the card if you like. Also writing a personal note, at least one line, should be a nice gesture. Even if only, “Hey, how you doing? – Mark @Art_News” Sign your name in whatever fashion you like, remember that it is important to know who it comes from. Please include your your twitter name as indicated.
Keep in mind that half the fun is seeing the postal marks, florescent tags and just how it gets “damaged” from the postal process. Don’t make the work so precious that you will be broken-hearted if the card gets dog-eared.
The guidelines are as follows:
1) Standard postcard sizes. It will likely be the only uniform element between all of us and would aids in mounting a show or an online gallery:
4-1/8 x 5-3/4 on some kind of more a less rigid 2-D material
2) Use real postage stamps. Not a metered stamp, unless your going insist that its a HUGE conceptual part of your work, then ok. But hey, there is a nostalgic component here with getting an “object” in the mail and stamps are pretty nostalgic these days, yet still widely available. Suggestions on this are welcome. Snail-mail rocks! Half of us were probably stamp collecting geeks as kids anyway. My #ArtConfess post would be that I was a member of the “Burlington Junior Stamp Club” that met every Saturday morning as a kid. Its in part how I fell in love with printmaking.
3) Now here is the commitment line: One postcard to all 30 people. That way you all get your own set.
In theory each person could in turn, “curate” his/her own mini-show in a venue somewhere.. or not. We can discuss this online in the comments boxes at the end of this blog post. The big thing is, each person has to pull their weight. No favoritism. Send the cards as you can do them on the list. I think 30 days should be a reasonable deadline, and we will try our best to get things in the mailbox by the July 1st deadline, right? For me personally, I am going send one a day for 30 days, and there will be a narrative puzzle to work out.
Back to the deadline issue. I know what procrastinators we twittering artist are. You probably don’t even have time for this project, but your going to do it anyway, so a later date is a bad idea. Why? Because you likely love the pressure and the adrenlin buzz. So I will be a demagogue on this one issue. The deadline is July 1st!! ok..?
Time management. Keep it a simple process. Think of how fantastic you will feel getting all this wondeful Art mail AND having others receive yours! I’m very jazzed.
28 May 2009 07:00 PM
Canadian Centre for Architecture CCA/Montreal [Press release]
Paul Desmarais Theatre
Los Angeles-based historian and tour guide Richard Schave examines developments in Los Angeles in the 35 years since the landmark urban tour film Reyner Banham Loves Los Angeles (UK,1972).
Schave, a former student of Banham, elaborates on his professor’s research by showing excerpts of the film in comparison with his own documentary photography. In particular, he explores signage, contextual environments, pop culture, and industry as driving force of environment. He touches on the modern architecture of Los Angeles, including the work of Richard Neutra, R.M. Schindler and Irving Gill.
Richard Schave is a guide for Esotouric Bus Adventures, a company that reinvents the guided bus tour by providing half-day excursions into the layers of history, culture, architecture and literature of the modern city of Los Angeles. He is incoming Director of the Downtown L.A. Art Walk, a successful grassroots event that revives long abandoned public spaces.
The Learning From… series takes its title from Learning From Las Vegas (1972), Robert Venturi, Denise Scott Brown, and Steven Izenour’s influential publication, which analysed the commercial strips and architectural symbolism of Las Vegas in order to understand urban sprawl. In this spirit, the series brings together experts to explore specific urban conditions and their relevance to the future development of cities.
Presented in English.